l prove that the director deliberately depersonalized the antagonist to make him for frightening as well as designed mise in scene in a way that the viewer would know that something is missing and anticipate the danger.
To begin with, one might note that when Laurie entered the room, she wanted to close the window. There was no particular reason to do so, other than some subconscious fear of Michael whom she recently saw. However, after she noticed that he was standing in her backyard, she immediately closed the window for a particular reason which is not to let him in. If one carefully analyzes the way she performed the action in question, one will be able to see that she was quite desperate and vulnerable. Indeed, a woman with her constitution can hardly oppose a man who is taller and stronger than her. Later in the movie she is shown fighting him and Laurie is able to overcome only due to some lucky hits that she makes.
By far, the part when she noticed a strange figure in the backyard should be seen as a rather frightening one: the mask that he is wearing contributes to demonalization of the character. There are several explanations for it. On the one hand, when one looks at the backyard, one does not expect to see something extraordinary. That is why a presence of an unknown man in the very middle of it seems to be a real shock to her. Indeed, Michael is positioned on the front frame and occupies the majority of the space. In addition to that mask makes him look like the villain of the movie and becomes a symbol of taking away his humanity. That is why this particular image make Michael so frightening.
One of the first impressions that the scene in the bedroom has on the viewer is the emptiness of the room. In spite of the fact that it looks as an ordinary room, mise en scene is organized in such a way that the audience understanding that something is clearly missing. Keeping in mind that Laurie saw Michael several times before walking into the house, it is